In this age of image and information saturation, the depth and value of experience is often exchanged for a one-dimensional existence. There is a premium set on how many connections a person possesses, and on visibility, but not necessarily on substance. This imbalance begs the question of whether the connections we make between ourselves and our surrounding world are meaningful, or just replacements for what is truly genuine. The immediacy and abundance of information causes images and attitudes to converge in unexpected ways, and leads to a reality filled with connections that are often flawed and disjointed. The Indiana University MFA Painting candidates are exploring the gaps in relationships, comprehension, and experiences that are a result of these misconnections.

Ours is a world perceived in fragments. It can lead to mistrust or apprehension, but it can also lead to humor and fulfillment, and occasionally to sublime inspiration. Greg Watson is one of several concerned with the psychological disconnection experienced between self and surroundings. He synthesizes unique forms and painted shapes to address fictional fragmentations between historical accuracy and fantasy. Joseph Kameen creates work that attempts to fill the gaps left by increasingly abandoned mythologies, using fantasy and humor to tease apart the edges of contemporary society’s existential crises. Corey Lamb combines personae and archetypes from history, religion, and popular culture within his paintings in order to bridge the gap between the divide resulting from a modern reconfiguration of self in a technologically overrun era. Tyler Wilkinson’ s work attempts to make connections between racial depictions of yore with today’s more implicit repackagings in the hopes of debunking the mystery of inequity. Sul-Jee Scully invents narratives in which the intensity of human emotion of teenage years are examined concurrently with unplaceable feelings of disengagement. Anna Buckner’ s vibrant paintings combine the goddess figure with the concept of quilting, examining the roles of women within both religious and domestic scopes. Madeline Winter draws upon memories of family to explore the rift one can experience through cultural misunderstanding. Ekatarina Vanovskaya uses childhood memories to create paintings that enable her to escape the present and immerse herself in longforgotten secrets. Caleb Knodell’ s “frescolike” paintings deals with wrangling subconscious imagery and atmospheric energy that relates to underlying hidden nostalgia.

Another group of artists, most of whom are committed to working from direct observation, are concerned with connections of self with the physical world and with tangible relationships. Greg Burak utilizes purposefully obscured narratives to approximate the anxiety that arises from uncertainty. Jordan Kornreich creates still life paintings of mundane and commonplace objects in order to create a dialogue that deals with the transitory circumstances of life. Taylor Leaman creates paintings with Uglowesque attention and detail in order to highlight seemingly insignificant natural elements that are typically taken for granted. Kaitlin Dodds explores a loss of interaction between people and their surrounding world, integrating cliche homey patterns and landscape elements to illustrate a life of suffocating domesticity. Lindsay Hall’ s delicate paintings on mylar deal with the connection of the internal human body to the natural outside world, and how those two environments change and influence each other to create a hybrid nature of systems and organisms. Autumn Bussen looks to slow down subconscious data overload by enacting a calm and exploratory painting process focusing on surface and mark making.

With improvements in technology allowing for constant interaction, it is ironic that the world feels disconnected now more than ever. This spectrum of sources, both real and imagined, that are utilized by the artists are gateways into examining this disconnection and its place within the contemporary art world.

In her most recent work: Body and Shadow, Suzanne Montgomery continues to effectively pursue contemporary figural painting using a unique assessment of the human body in relation to space. Unlike many figure paintings, figure over ground or figure against ground, her paintings consistently attempt to activate and engage space, to elevate space, giving it weight, substance, and identity using the human form as catalyst. Her writhing bodies in sticky paint struggle or retire in seemingly benign and dreamy environs, while Montgomery establishes sensitive equations between the two, two-way chemical reactions, triggering a range of powerful associations and psychologically resonant sensations. Her figures are completely absorbed with space itself, as though nothingness is a formidable element to be engaged, danced with, or placated. Her unique understanding of figure and ground evokes visceral questions about consciousness, centeredness, solitude, gravity and what it means to be engaged in the real world while simultaneously drawn to the center of our individual essential natures.

For the first time at Sundaram Tagore New York, we will be showing work by noted Bangladesh-born artist Tayeba Begum Lipi, whose work was recently on view in No Country: Contemporary Art for South and Southeast Asia at the Guggenheim Museum.

Work by Lipi, along with selected artists from this show, is also on view in Frontiers Reimagined, a collateral event of the Venice Biennale, organized by Sundaram Tagore and Tagore Foundation International. The exhibition is on view until November 22 at the Museo di Palazzo Grimani. Visit www.frontiersreimagined.org for more information.

Derek Eller Gallery is pleased to present an off-site exhibition in Los Angeles, featuring new work by Despina Stokou and Peter Shire.

Both Despina Stokou and Peter Shire utilize strategies and language from throughout the spectrum of taste. Each borrow freely from popular culture and art historical references and in doing so work to subvert expectations. In this exhibition, new paintings by Stokou, ambitious in scale and breadth, commingle with sculptures, furniture, ceramics and drawings by Shire.

Despina Stokou’s furiously energetic canvases layer text, collage, charcoal, and oil paint. These paintings react with immediacy to the breakneck speed of our daily information consumption while maintaining an inventive sensitivity to the history of expressive mark making. Her paintings incorporate sources as varied as html code, song lyrics, blog posts, classical music compositions, and most recently emojis. While these new emoji paintings are a slight departure from her earlier text based paintings, they continue a trajectory of exploring contemporary vernacular. Reacting to the information in her periphery through densely layered gestures, Stokou creates a new conversation about collapses of language as they relate to the history of abstraction today.

Peter Shire’s practice consistently crosses boundaries of craft, design, traditional and contemporary understandings of fine art. A founding member of the Memphis, the notorious design and architecture collective based in Milan, he collaborated in each annual collection from 1981-88, contributing furniture, metal work, and ceramic sculptures. He has since continued to create work that refuses to pick sides in the fight between formal and functional. For this exhibition Shire has produced sculptures, drawings, a cabinet, and topsy turvey ceramic cups. Reflecting an on-going involvement in public work, Russian Utopianists: El Lissitzky, Kazimir Malevich and Jacques Tati. Modernist geometric abstraction combined with a populous working class sympathy, industrial materials, and the language of commerce in our time, creates a questioning of the values of the things around us.

In Auto-Correct both Stokou and Shire confront implied hierarchies head on. Each artists work with urgency towards a broader cultural context, one that reflects this duality; one where emojis, Constructivism, mass produced objects and expressionism, and even the continuum of fine art languages exist on a brightly colored, exuberantly level playing field.

Peter Shire’s work is included in a number of public collections such as The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, The Museum of Fine Arts Houston, and The Seattle Museum of Art. His work has recently been featured in exhibitions at Koenig and Clinton, New York, The Institute for Italian Culture, Los Angeles, A + D Museum, Los Angeles and Gavin Brown’s Enterprise, New York.

Auto-Correct will be on view at 2405 Glover Place, Los Angeles, CA 90031.

August comes with two new exciting exhibitions at Agora Gallery. Idiosyncratic Expressions and Interpretative Realms present a collection of artists who turn the art world on its head. In Idiosyncratic Expressions, colors combine in unexpected ways, forms emerge from obscurity, and textures distort scenes into something wholly unique and important. Sharing the gallery, Interpretative Realms presents paintings that invite deep introspection, as these international artists present scenes of abstraction and familiarity, re-examining their subjects with their individual, invaluable perspectives.

The exhibitions open on July 31st and will run until August 20th, 2015. The opening reception will take place Thursday, August 6th, from 6-8 PM. The exhibitions and opening reception are open to the public.

Agora Gallery is a contemporary fine art gallery located in the heart of Chelsea’s fine art district in New York. Established in 1984, Agora Gallery specializes in connecting art dealers and collectors with national and international artists. The art gallery’s expert consultants are available to assist corporate and private clients in procuring original artwork to meet their organization’s specific needs and budget requirements. With a strong online presence and popular online gallery, ARTmine, coupled with the spacious and elegant physical gallery space, the work of our talented artists, who work in diverse media and styles, can receive the attention it deserves. Over the years Agora Gallery has sponsored and catered to special events aimed at fostering social awareness and promoting the use of art to help those in need.

Our current cultural landscape is immaterial. Bookended on the one side by iTunes policy of replacing objects with digital access and the canonization of post-studio practices on the opposite end. It’s apparent this shift to the clouds is something larger than a trend. Those who desire to own, hold and manipulate stuff or things have been pushed to the fringes, creating a materialist counter-culture.

The following is an excerpt from a tripadvisor.com forum titled “The Demise of Sea Glass Hunting?”

gottabeach
There is a posting today on Cruise Critic stating there are signs posted now at the beach by Naval Dockyard stating it is “owned by WEDCO and the taking of any sea glass is prohibited and persons will be prosecuted”.Is this true? Is this legal? Please tell me this is NOT SO!
Senior65
It would be interesting to know whether in fact WEDCO can stop all access to the beach. The fact that they have put up a sign doesn't necessarily mean that they can. Hope we get some further information, perhaps from one of the locals. I have the feeling that like other fashionable things to collect, this one will eventually run its course and the problem will solve itself.
KDKSAIL
Think about it for a moment. WEDCO is a semi-autonomous non-governmental organization (a ‘quango’ established by an Act of ParliamentWest End Development Corporation Act 1982) established to manage and develop the old Royal Navy and Canadian Forces military base lands returned to Bermuda's direct control. For all intent and purpose, WEDCO ‘owns’ the land and may allow, restrict or prohibit access to it.
sonnysullivan
The sign says the beach is open to the public but it's illegal to collect the “natural” sea glass. No such thing as natural sea glass, the word for it is trash and there is no law against picking up trash off of any beach.
gottabeach
Thank you, for looking into this, and all those who responded. My most enjoyable place to be...EVER...is on a beach with Seaglass...listening to the sound of Seaglass tinkling with the waves, the beauty of Seaglass sparkling in the sun, the feel of smooth time weathered Seaglass in the hand. I recognize there are many other things Bermudian but to me this experience is indescribably unique. It saddens me to see or hear of buckets of Seaglass being removed ANYwhere. Most Seaglassers have an unwritten rule...take what you “need” and leave the rest for others. A few “mermaids tears” to remember the sights, sounds and emotions when one can no longer sit on that beach is all that is needed.

Derek Eller Gallery is located at 615 West 27th Street, between 11th and 12th Avenues. Summer hours are Monday - Friday, 11am - 6pm. For further information or images, please contact the gallery at info@derekeller.com, 212.206.6411, or visit www.derekeller.com

Joshua Liner Gallery presents the third edition of Summer Mixer, a spirited group exhibition of emerging and established contemporary artists. For some, this will be their debut offering with the gallery, while others continue to foster a growing relationship with the exhibition space. An extensive scope of artistic mediums is covered in this exhibition including installation, sculpture, mixed media, and painting. Summer Mixer opens with an artist’s reception on Thursday, July 16, 2015.

Berkeley-based artist Libby Black will present a selection of paintings and sculptures exploring commercial products, luxury designer items, personal possessions, and their influence in shaping an individual’s identity. EZ Duz It—a guitar case constructed of paper and acrylic paint—bears a collection of bumper stickers with political statements, fashion labels, and positive affirmations. The artist explains, “Usually you can tell a person by their car and their bumper stickers… a little bit of fashion, pop culture, political statements and affirmations. It’s a mix of what I like, and somewhat of a self-portrait, although I feel all of my work is like that.”

Also working in a three-dimensional medium, Brooklyn-based artist Daniel Joseph presents a new installation: When Actually That Was All That Was Really Happening. This piece exists in two stages and forms, alluding both physically and conceptually to Marcel Duchamp’s seminal works The Bride Stripped Bare by Her Bachelors, Even (The Green Box), and The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Like Duchamp’s Green Box, the first stage of Joseph’s work consists of a wooden box filled with 365 notes and drawings written to an ex-lover over the course of one year. Based on the Ebbinghaus curve (or forgetting curve), the writings are visually displayed in stage two between plexiglass panels, mirroring Duchamp’s The Large Glass. Joseph explains, “The result is a collection of real notes inside a fictional story… profane love as imagined inside something beautiful, yet imperfect, falling apart. A testament and celebration of what was and remains unfinished.”

Geometric abstraction and painterly exploration is central to the work of Elise Ferguson, Antonio Adriano Puleo, and Eric Shaw. Ferguson’s works on MDF panel combine painting and relief printing, exploring simple patterns with circles and rigid lines to form dynamic, optical compositions. While abstracted, the emerging patterns in Ferguson’s work often resemble naturalistic elements such as lighting fixtures, linoleum floor designs, electric stovetops, and industrial packaging. Antonio Adriano Puleo’s abstract grid paintings and sculptures explore form, color, and process. Each work in the artist’s twelve by nine-inch works on panel bears an independent set of colors and structures. Unified by their identical size, these grid paintings reveal the artist’s dedication to the endless possibilities of simple patterns, form, and color combinations. Eric Shaw merges elements of geometric and gestural abstraction in his vibrant works on canvas. Composing sketches on a smartphone drawing app, the artist translates fragments of these doodles onto canvas. Shaw explains, “I am interested in capturing a moment, where all the forms are still but feel as if they were just in motion. In some of the more complex compositions, several sketches are incorporated, and a landscape compiled of forms interact and create tension.”

Contrasting the angular geometric work of the aforementioned artists, Brooklyn-based Jane LaFarge Hamill explores a gestural, impasto style of painting. Hamill’s abstract portraits on canvas capture the suggestion of a human figure with faces that are skewed and unrecognizable through her thick slabs of paint and raised brushstrokes. The most recent work from the artist examines emotion and identity as moving, breathing, and flowing human attributes, constantly changing form.

Brooklyn-based artist Kristen Schiele mixes collage, screen-printing, and painting to create multi-layered planes in her patterned, angular works on canvas. Combining snippets of architectural structures, diamond Navajo patterns, images of German B-movie actresses, seven point stars, and high contrast between dark tones and neon hues, Schiele’s works are brimming with electric energy. The work pulsates with various references to the many places the artist has lived around the United States and Germany. Describing her layered process, Schiele notes “The abruptness of a cut panel or a clash in painting, drawing, and printmaking techniques keeps the practice of painting exciting to me, and keeps the picture plane jumping around.”

The otherworldly bronze sculptures by San Francisco artist Mario Martinez (Mars-1) are informed by cosmology, extraterrestrial theories, scientific phenomena, and patterns occurring in nature. The artist’s round, molecular shaped bronzes are detailed with concentric circular patterns reminiscent of Fibonacci sequences, with evenly spaced impressions that are both naturalistic and very alien.

Lastly, Barcelona-based artist Michael Swaney’s vivid works on canvas present fantasy worlds filled with geometric shapes, mosaic patterns, and clown-like figures. Evoking influences of Art Brut and its pioneer Jean Dubuffet, Swaney’s joyful use of line and sunny color palette exude the playfulness and innocence of a child’s drawing: heartwarming and uplifting.

Within Leonardo Drew’s unique works, made of cast and pigmented paper, lie organic forms that shift between microcosmic and macrocosmic scale.

Shepard Fairey’s newest hand-printed multiples, Universal Personhood 1, 2, and 3 will be exhibited for the first time in a gallery exhibition.

James Turrell’s jewel-toned set of three aquatints, Suite from Aten Reign, based on the monumental 2013 installation at the Guggenheim Museum, will be prominently featured.

Jian-Jun Zhang’s monoprints investigate the properties of water both as an abstract element and as matter that flows across time and space. Zhang’s monoprints combine water with ink, a traditional Chinese medium, symbolizing the flow of Chinese history from old to new.

Highlighting exhibitions at Pace Prints, 32 East 57th Street, will be a selection of works from Tara Donovan’s newest series of prints made from a Slinky® matrix and Dan Walsh’s 2015 Folio C etchings.

An exhibition of Lucas Samaras works will be on view in the small project May 1 through June 20, 2015.

A significant contemporary exhibition presented concurrently with the first-ever metalpoint survey at the National Gallery of Art in Washington DC and in conjunction with “Musing Metallic” at The Curator Gallery on 23rd Street, NYC.

New York, NY (CHELSEA) - Garvey|Simon Art Access is pleased to announce Metalpoint Now!, an exhibition of contemporary artists whose current work features silverpoint and other metalpoint techniques.

Expanding on the scope of the history-making metalpoint exhibition at the National Gallery in Washington, DC (Drawing in Silver and Gold: Leonardo to Jasper Johns, May 3 – July 26, 2015), Metalpoint Now! highlights contemporary artists who are using metalpoint in their work today as a regular part of their artistic practice, not as an experimental or occasional variance. Metalpoint Now! is composed of works by eight artists and one artist-collaborative duo. The artists work in a variety of unique and innovative ways; some incorporating a more traditional figurative approach, while others are combining metalpoint with other media to produce striking and unexpected results.

About Metalpoint

Metalpoint is a writing and drawing technique that has been in use since the Middle Ages. Traditionally, a small metal wire is used to make precise marks on a prepared surface or paper. The ‘points’ can be of varied types of metal: from silver to gold, to copper or tin. Silverpoint is the best known and most often used.

Metalpoint, which flourished during the High Renaissance until replaced by graphite in the late sixteenth century, traditionally created clearly defined lines and minute details that demonstrated exceptional permanence, being nearly impossible to erase. The initial marks of metal appear grey, but when exposed to air the metals oxidize and tarnish to varying degrees, adding an element of time and chance to the medium.

Simultaneously exhibited with Metalpoint Now! are two other group shows that feature some of the same artists’ metalpoint drawings: Musing Metallic, (June 3 – July 11), The Curator Gallery, 520 West 23rd Street, New York, also curated by Elizabeth Garvey; and Drawing in Silver and Gold: Leonardo to Jasper Johns, (May 3 – July 26, 2015), National Gallery of Art, Washington, DC.

Garvey|Simon is a contemporary art gallery with a special focus on drawing, works-on-paper, unusual materials and design. Our art advisory service, founded in 1999 by Elizabeth K. Garvey, specializes in American, Modern, and Contemporary Art.

For more information about each artist or high-resolution images, please contact Elizabeth Garvey at 917-796-2146 or liz@garveysimon.com

Winston Wächter Fine Art, New York, is delighted to announce its second solo exhibition with artist Scott Patt. Drawn from a yearlong project to create and share a painting a day, Bigger. Smaller. Funnier. embodies a quest to challenge the connectivity and purpose of art. The paintings inspire viewers to consider overlooked humorous and poignant moments in life by drawing from daily interactions rather than solitary introspection.

The high gloss of post pop consumerism remains essential to Patt’s art, though these paintings demonstrate a departure from his pristinely polished work. The painterly works of Bigger. Smaller. Funnier. bare the process of making while remaining clean and graphically whole. Bold colors, shapes, and text exhibit an economy of means required of sharing a complete idea a day. Snippets of conversations, personal thoughts, and plays on words are incorporated through the aesthetic filter of commercialism. Taken out of context, random thoughts become hilarious and mundane words become poetic.

The title itself is from a poorly translated quote on a factory wall in China, and was transformed into a personal mantra for Patt, to expand his audience and to have more fun doing it. Daily feedback through social media helped shape the style and direction of the project, and ultimately helped decide which pieces would be exhibited. Bigger. Smaller. Funnier. reminds viewers to pay closer attention to the emotions, feelings, love, and joy that occur each day. The playful simplicity of Bigger. Smaller. Funnier. exemplifies the humor and tenderness of the human condition.

Scott Patt was born in Allentown, Pennsylvania and currently works and resides in New Hampshire. He studied at The Pennsylvania State University and Barnstone Studios in Copley, PA. Patt’s paintings, sculptures and installations have been exhibited around the world and featured in publications such as The Wall Street Journal and Paper Magazine.

Mixed Greens is thrilled to present Common Thread, a group exhibition of paintings by Anni Albers, Wendy Edwards, Tamara Gonzales, Michelle Grabner, Sarah Harrison, Ellen Lesperance, Danielle Mysliwiec, Sasha Pierce, Angela Teng, Leslie Wayne, and Summer Wheat. Their work employs repetition, pattern, illusion, and extensive manual labor to create complex contradictions among the work’s inspiration, material, and imagery. All the artists address the fluidity of gendered territories and eschew the “iconic brushstroke” in favor of fiber art’s poetic possibilities within the discipline of painting.

Two pieces set the historical and political stage for the exhibition: an Anni Albers study and an Ellen Lesperance gouache knitting pattern of a sweater Anni Albers was wearing in 1928. The grid, a basic ruling principle of the Bauhaus where Albers studied weaving, is the dominant visual force in Albers’ work. Lesperance, in turn, deconstructs Albers’ sweater into a geometric grid pattern. Lesperance’s sweater paintings demand the consideration of important female activists and, in this case, the celebration of Albers’ status as a pioneer and significant contributor to contemporary art.

If the work of Albers and Lesperance foreground the grid, the works of Tamara Gonzales, Michelle Grabner, and Wendy Edwards use the grid and textile construction as the underlying architecture for their abstractions. Gonzales spraypaints fragments of lace in glyph-like dreamscapes. Grabner uses flashe to create an optically mesmerizing tondo—its radial pattern appearing simultaneously hand woven and mechanically derived. In a looser handling, Edwards utilizes pure paint to create a three-dimensional net atop her ground. The sweeping lines contain the thin, floating gestures beneath. The artists’ geometric compositions produce open narratives, allowing the loaded histories of their inspirational textiles to tell cultural, historical, and material stories.

Using paint as a stand-in for actual fiber and pushing painted dimensionality to its wall-based limits, Sasha Pierce, Danielle Mysliwiec, and Angela Teng transform paint into surfaces that confound the eye and force the viewer to question the act of looking. Painting is explored, disguised, and celebrated without the use of a brush. While Pierce’s abstractions create the illusion of textiles through tiny, carefully placed stitches of paint, Mysliwiec and Teng shape the paint on and off the canvas, using threads made of acrylic to achieve a woven surface.

Finally, Sarah Esme Harrison, Leslie Wayne, and Summer Wheat use paint to refer to specific textiles with varying degrees of representation. Wayne’s work takes on the properties of common cloth and resplendent fabric, hanging on the wall as if waiting for use. Harrison’s rugs, although entirely flat, are equally illusionistic and artificial. Trompe l’oeil from a distance, both artists’ work is revealed to be more gesturally improvisational upon closer inspection. The tight weave we see from afar becomes abstracted and physical. Summer Wheat pushes that physicality to an extreme, using a love-worn blanket and tapestry as departure points. The texturally sumptuous paintings embody the emotional connection to her inspirational textiles while pushing the medium to new limits.

Common Thread celebrates the expansive potential of abstracted painting and its relationship to—and reliance on—textiles. Surfaces embody paint’s ability to be thick and flowing, flat and dimensional, tough and delicate, playful and revolutionary. The works are technically masterful, using the histories of painting and fiber art to become effortlessly hybrid in both form and content.

In her colorful layered paintings, Camacho reimagines the materiality of the canvas while pushing its logic to create unexpected surfaces. As she dissects each layer, she creates structural and spatial changes where gravity, shadows, and color reflections evoke a physical and tactile experience. The cut is always precise and intentional, and without being aggressive or disruptive, the pieces appear to be extremely symmetrical. The color pencil lines, always follow a set of geometric rules, and with the cut, these rules are disobeyed allowing the material to take control over the piece and therefore revealing its purity.

Without planning or sketching, her paintings are always intuitive, and looking closely into the work, there is a persistent evidence of her hand. As she creates a duality between pictorial space and real space, her work engages in a phenomenological approach by defining the physical and temporal relationship of the viewer to the piece. All of her paintings are to be grasped in the experience of looking at them.

In this body of work, Camacho creates paintings that oscillate between abstraction and representation, as she creates three-dimensional anthropomorphic and zoomorphic entities, personal narratives, architectural spaces, and musical illustrations.

Thatcher Projects is pleased to present H O T S P O T S, the gallery’s annual summer group exhibition featuring a selection of works that highlight the current studio practice of artists across the gallery program. Several artworks will introduce subtle shifts in the imagery or process of the artists, often times both, exhibited for the first time in New York.

Some of the artists, including Nobu Fukui, Teo Gonzalez, and David Mann, are relatively new to the gallery despite working in New York for several decades. In this exhibition, the gallery introduces Gonzalez’ “arch” paintings. Working from a loose, organic grid, Gonzalez evokes a moire effect as the cell-like spaces appear to expand and compress. David Mann adds linear elements that accompany his more familiar forms, directing the viewers’ eyes toward focal points throughout his ethereal compositions.

An IKEA fusion table and chairs set is reimagined as unique and culturally invaluable by Australian artist Gary Carsley, who wraps the prefabricated furniture with a depiction of extinct creatures and plants. The image, constructed from hi-resolution photographs of stone, serves as an homage to these vanished species while asking questions as to their demise.

Paintings by Carlos Estrada-Vega, Kevin Finklea and Jus Juchtmans, awash in color, may appear monochromatic at first. However, the careful layering of pigment by Juchtmans and Finklea prove that they are in fact complex shifts that are constantly in action.

BDG is please to present our Summer Collective featuring new work by Beth Carter, Joseph Adolphe and Frederico Infante as well as Ayline Olukman, Stéphane E. Dumas, Quentin Garel and Yannick Fournié.

Beth Carter’s new sculptures continue her exploration of mythological themes with human-animal hybrids in bronze and resin. Canadian painter Joseph Adolphe presents new large-scale oil on canvas pieces that depict the subjects with masterful intensity. Adolphe’s works have an Old Master/Expressionist quality with rich, visible brushstrokes and a clear understanding of motion; however, he endows his work with an undeniable modernity and relevancy to today’s rapidly changing world. His new paintings include bulls and guns in his signature style. In addition to Adolphe’s paintings, we have new pieces from Chilean artist Federico Infante on view. Infante’s acrylic masterpieces blend areas of abstraction with sections of exceptionally defined details.

Ayline Olukman creates mixed media pieces using her own photographs taken during her travels combined with old photos, mostly from the 1950’s, that she finds while traveling. Olukman’s bold colors give her work a decidedly modern feel while her subjects and collage-style approach add a hint of nostalgia.

Dumas’ work focuses on nature, particularly the Atlantic Ocean and the lush foliage of Normandy; however, his work is not a realistic representation of nature but rather his artistic interpretation of the natural world. Dumas’ paintings are characterized by their ethereal blend of abstract and landscape genres.

We have on view a selection of works from Yannick Fournié’s recent exhibition, INCOGNITO.

Able Fine Art NY Gallery is pleased to present “Nexus,” a solo exhibition of the work of Korean artist Jeon Nak.

For this exhibition, Jeon Nak has created a series of exciting lenticular prints that draw the eye into an astonishing three dimensional space. His images contain a symphony of line and color backed with a tremendous illusion of space. His 3D trompe l'oeil creations achieve their arresting presence through a meticulous, exacting technical process. Jeon Nak's mastery of technique and bold new vision signal important works of contemporary art that can only truly be experienced first-hand.